Young American filmmaker who made his feature directing and writing debut with the low-budget slice-of-Brooklyn-life film, "Laws of Gravity" (1992). Telling the story of childhood friends who, for varying reasons, turn to low-level crime, the film was hailed for both its visceral camerawork and authentic street smarts. A graduate of the SUNY Purchase film program, Gomez previously worked as a sound recordist and editor for fellow alum Hal Hartley on his features "The Unbelievable Truth" (1989) and "Trust" (1990) and the short "Theory of Achievement" (1991). "New Jersey Drive" (1995), his second feature and first produced by a studio, again explored the world of urban street denizens--this time Newark, NJ. Gomez was praised for bringing "a startlingly fresh portrait of street culture" to the screen with this tale of black teens who steal cars for thrills over the course of a summer and the trouble they reap as a result. While generally well received, "New Jersey Drive" weathered criticism for what some people saw as a nihilistic view of inner-city life.

Young American filmmaker who made his feature directing and writing debut with the low-budget slice-of-Brooklyn-life film, "Laws of Gravity" (1992). Telling the story of childhood friends who, for varying reasons, turn to low-level crime, the film was hailed for both its visceral camerawork and authentic street smarts. A graduate of the SUNY Purchase film program, Gomez previously worked as a sound recordist and editor for fellow alum Hal Hartley on his features "The Unbelievable Truth" (1989) and "Trust" (1990) and the short "Theory of Achievement" (1991).

"New Jersey Drive" (1995), his second feature and first produced by a studio, again explored the world of urban street denizens--this time Newark, NJ. Gomez was praised for bringing "a startlingly fresh portrait of street culture" to the screen with this tale of black teens who steal cars for thrills over the course of a summer and the trouble they reap as a result. While generally well received, "New Jersey Drive" weathered criticism for what some people saw as a nihilistic view of inner-city life.